Buchbesprechungen

2008 ◽  
Vol 2008 (1) ◽  
Author(s):  
Ralf Becker ◽  
Franz-Peter Burkard ◽  
Johannes Schick ◽  
Rainer Schäfer
Keyword(s):  
Edmund Husserl

Edmund Husserl: Transzendentaler Idealismus. Texte aus dem Nachlass (1908-1921); Thomas Friedrich, Jörg H. Gleiter (Hg.): Einfühlung und phänomenologische Reduktion. Grundlagentexte zu Architektur, Design und Kunst; Thomas Fuchs: Das Gehirn – ein Beziehungsorgan. Eine phänomenologisch-ökologische Konzeption; Shigeru Taguchi: Das Problem des ‚Ur-Ich‘ bei Edmund Husserl. Die Frage nach der selbstverständlichen ‚Nähe‘ des Selbst

Consciência e Intencionalidade na Fenomenologia de Edmund Husserl

2020 ◽  
Vol 20 (1) ◽  
pp. 95
Author(s):  
Ricardo Pinho Souto ◽  
José De Sá de Araújo Neto
Keyword(s):  
Edmund Husserl

O presente artigo visa discorrer sobre um dos conceitos centrais na fenomenologia husserliana: o conceito de intencionalidade. De saída, ressalta-se que a consciência é necessariamente intencional por partir da relação básica constituída pelo par indissociável sujeito/objeto. Tal conceito - intencionalidade -, põe em destaque o movimento da consciência em direção ao objeto e, mais ainda, essa propriedade cumpre um caráter universal, fazendo-se presente no funcionamento psíquico do homem.

Kontrast und Wissen

2009 ◽  
Vol 54 (1) ◽  
pp. 69-102
Author(s):  
Robin Rehm
Keyword(s):  
19Th Century ◽  
Edmund Husserl ◽  
Specific Knowledge ◽  
Max Scheler ◽  
Black And White ◽  
Black Circle ◽  
Black Cross ◽  
Definition Of ◽  
And Function ◽  
The 19Th Century

Kasimir Malewitschs suprematistische Hauptwerke ›Schwarzes Quadrat‹, ›Schwarzer Kreis‹ und ›Schwarzes Kreuz‹ von 1915 setzen sich aus schwarzen Formen auf weißem Grund zusammen. Der Typus des Schwarzweißbildes weist überraschende Parallelen zu den bildlichen Wahrnehmungsinstrumenten auf, die vom ausgehenden 18. bis Anfang des 20. Jahrhunderts in den Experimenten der Farbenlehre, physiologischen Optik und Psychologie verwendet worden sind. Die vorliegende Studie untersucht diese Parallelen in drei Schritten: Zunächst erfolgt eine allgemeine Charakterisierung des Schwarzweißbildes mit Hilfe des Kontrastbegriffs von Edmund Husserl. Des weiteren wird die Entstehung und Funktion des schwarzweißen Kontrastbildes in den Wissenschaften des 19. Jahrhunderts typologisch herausgearbeitet. Unter Berücksichtigung des Wissensbegriffs von Max Scheler wird abschließend die Spezifik des Wissens eruiert, das die Schwarzweißbilder sowohl in der Malerei Malewitschs als auch in den genannten Wissenschaften generieren. Malevich’s main Suprematist works, such as ›Black Square‹, ›Black Circle‹, and ›Black Cross‹ from 1915, consist of black shapes on white ground. Surprisingly this series of shapes strongly resembles scientific black-and-white images used for research on colour theory, physiological optics, and psychology throughout the 19th century. This paper examines the parallels between Malevich’s paintings and the scientific drawings in three steps: It first characterizes black-and-white images in general, using Edmund Husserl’s definition of the term ›contrast‹. Secondly, the paper investigates the development and function of black-and-white images as tools of perception in the sciences. It finally discusses the specific knowledge generated through Malevich’s art and through scientific black-and-white images, following Max Scheler’s phenomenological identification of knowledge.

Buchbesprechungen

2009 ◽  
Vol 2009 (1) ◽  
pp. 207-244
Author(s):  
Ralf Becker ◽  
Egbert Witte ◽  
Meike Siegfried ◽  
Ernst Wolfgang Orth ◽  
Annette Hilt ◽  
...  
Keyword(s):  
Martin Heidegger ◽  
Edmund Husserl

Edmund Husserl: Wahrnehmung und Aufmerksamkeit. Texte aus dem Nachlass (1893-1912); Martin Heidegger: Geschichte der Philosophie von Thomas von Aquin bis Kant; Thomas Bedorf, Kurt Röttgers (Hg.): Die französische Philosophie im 20. Jahrhundert. Ein Autorenhandbuch; Günter Figal: Verstehensfragen. Studien zur phänomenologisch-hermeneutischen Philosophie; Guy van Kerckhoven: Epiphanie. Reine Erscheinung und Ethos ohne Kategorie; Christian Lotz: From Affectivity to Subjectivity. Husserl’s phenomenology revisited; Claus Stieve: Von den Dingen lernen. Die Gegenstände unserer Kindheit

Modern Thought and the Phenomenology of Film

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
William James ◽  
Edmund Husserl ◽  
Film Studies ◽  
Historical Context ◽  
Sergei Eisenstein ◽  
Siegfried Kracauer ◽  
Modern Thought ◽  
Franz Brentano ◽  
Late Nineteenth ◽  
Film Viewing

This chapter situates Merleau-Ponty’s phenomenology of film in its historical context through analysing its key insights—the reciprocal and embodied nature of film spectatorship—in the light of late-nineteenth and early-twentieth century philosophy and psychology, charting Merleau-Ponty’s indebtedness to thinkers as diverse as Henri Bergson, Max Wertheimer, Hugo Münsterberg, Rudolf Arnheim, Victor Freeburg, Sergei Eisenstein, and Siegfried Kracauer. The historical Bergson is differentiated from the Deleuzian Bergson we ordinarily encounter in film studies, and Merleau-Ponty’s fondness for gestalt models of perception is outlined with reference to the competing ‘persistence of vision’ theory of film viewing. The chapter ends with a consideration of some of the ways in which James Joyce could have encountered early phenomenology, through the work of the aforementioned philosophers and psychologists and the ideas of Gabriel Marcel, Franz Brentano, William James, and Edmund Husserl.

Jelena Osnobkina (1959–2010)

2021 ◽  
Vol 69 (2) ◽  
pp. 295-302
Author(s):  
Nelly Motroschilowa
Keyword(s):  
Political Philosophy ◽  
Martin Heidegger ◽  
Edmund Husserl ◽  
Political Engagement ◽  
Russian Philosophy ◽  
Philosophical Theory ◽  
Philosophical Work ◽  
Soviet Russia

Abstract This archival feature serves to present the personality and philosophy of Elena Oznobkina (1959–2010), a key figure of late-Soviet and, later, Russian philosophy. Oznobkina pioneered the present-day reception of Martin Heidegger and Edmund Husserl in Russia, but also made substantial contributions to Nietzsche studies and political philosophy, which are detailed in Nelly Motrozhilova’s introduction. Her philosophical work was inseparable from her personal political engagement, to which the featured archival text (“Prison or Gulag?”, 2000) testifies. It gives a poignant and concise characterisation of the prison as an object of philosophical theory, while asking the question of where Soviet prison camps and the prisons of post-Soviet Russia are to be located within this field of thought.

Cairns, Dorion: The Philosophy of Edmund Husserl

2014 ◽  
Vol 31 (1) ◽  
pp. 73-79
Author(s):  
Jered Janes
Keyword(s):  
Edmund Husserl

scholarly journals On the Juridical Relevance of the Phenomenological Notion of Person in Max Scheler and Edith Stein

2021 ◽  
Author(s):  
Francesco Galofaro
Keyword(s):  
Artificial Intelligence ◽  
Edmund Husserl ◽  
Phenomenological Analysis ◽  
Machine Learning Algorithms ◽  
Decision Makers ◽  
Edith Stein ◽  
Max Scheler ◽  
Human Decision ◽  
The Difference ◽  
Social Units

AbstractThe paper presents a semiotic interpretation of the phenomenological debate on the notion of person, focusing in particular on Edmund Husserl, Max Scheler, and Edith Stein. The semiotic interpretation lets us identify the categories that orient the debate: collective/individual and subject/object. As we will see, the phenomenological analysis of the relation between person and social units such as the community, the association, and the mass shows similarities to contemporary socio-semiotic models. The difference between community, association, and mass provides an explanation for the establishment of legal systems. The notion of person we inherit from phenomenology can also be useful in facing juridical problems raised by the use of non-human decision-makers such as machine learning algorithms and artificial intelligence applications.

Edmund Husserl, Logical Investigations. Volume I. Prolegomena to Pure Logic

2016 ◽  
Vol 32 (2) ◽  
pp. 165-166
Author(s):  
Maria Cherba ◽  
Frédéric Tremblay
Keyword(s):  
Edmund Husserl ◽  
Pure Logic ◽  
Logical Investigations

Pilsēta Jāņa Hvoinska dzejā

2021 ◽  
pp. 233-242
Author(s):  
Anda Kuduma
Keyword(s):  
Concept Formation ◽  
Edmund Husserl ◽  
Artistic Style ◽  
Life And Death ◽  
Jean Paul ◽  
The World ◽  
Depth Dimension ◽  
Symbolic Images ◽  
Main Ideas ◽  
The City

The article is dedicated to the evaluation of creative work by poet and translator Jānis Hvoinskis, and it characterises the content and artistic qualities of Hvoinskis’s poetry process. The main focus is on the representation of the phenomenon of the city as an essential and characteristic poetic chronotope segment in Hvoinskis’s poetry. The study aims to identify and assess the characteristic kinds of city concept formation and their importance in building Hvoinskis’s artistic style. The article highlights and evaluates the techniques for designing the artistic structure of the indivisible chronotope in Hvoinskis’s poetry. This view is based on the fundamental principles of phenomenology, i.e., an individual phenomenon (phainómeno) is crucial in the reflection of consciousness, inner temporality, intentionality, intersubjectivity, and lifeworld. In turn, the highlight of poetry subject’s primary condition and existential motifs is logically linked to the main ideas of existentialism in their attitude towards the reason of an individual’s existence, relationships to life and death, freedom of will and choice, determinism. The study’s theoretical and methodological basis includes the ideas of phenomenology theoreticians (Edmund Husserl, Maurice Merleau-Ponty, and others) and the theories of existentialism philosophers (Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre). Hvoinskis’s poetry allows us to speak about a city as a concept, i.e., as a universal and capacious generalising notion (which includes images, notions, symbols) from which its associative components – poetry themes, motifs, images – derive. Thus, it is possible to speak about the depth dimension of the city phenomenon. The city phenomenon in Hvoinskis’s poetry is the landscape that has been adopted as the centre of the world of the lyric subject in both poetry collections that have come out to date: “Lietus pār kanālu e” (Rain over the Channel e, 2009) and “Mūza no pilsētas N” (Muse from City N, 2019). The depth dimension in Hvoinskis’s poetry appears in the natural synthesis of mythical and real chronotope, associatively impressive and plastic imagery, expressive style kindred to surrealism poetics. The city appears as a modernism project created by the logic of industrialisation, simultaneously revealing a metaphysical dimension where symbolic images as constituents of a myth preserve the memory of wholeness of the world. The emotional atmosphere of Hvoinskis’s poetry is defined by the highly existential atmosphere – despite the harsh indifference created by the city, the sadness of existential loneliness, social distance, and aversion towards life, the poet makes the tragic and ugly strangely appealing without losing the feeling of lightness and hope. The poet’s intense intuition and imagination exhibit the congeniality with the 20th-century French modernists. Hvoinskis’s poetry muse is death, which implies life.

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